NO PL.AY5 EXCHANGE.D. 'Baher's Edition' or Pl7\y3 « Art Clubs Are Trumps Price, 25 Cents B. lU* Pfnero's Plays Price, 50 Cctits Cacb TIII7 A1VIA7nN^ Farce in Three Acts. Seven males, five fe- IflJCj A1tIA£«vF11iJ males. Costumes, modern; scenery, not difficult. Plays a full evening. THE CABINET MINISTER mjiles, mne females! Cos tumes, modern society; scenery, three interiors. Plays a full evening- riAWnV nir'lf Farce in Three Acts. Seven males, four fe- UAViUl LFivIV males. Costumes, nu)dern; scenery, two inte- riors. Plays two hours and a half. Tlir PAY I riPn nilPY comedy in Four Acts. Four males, inCUill LiWlVU V£UEiA ten females. Costumes, modern; scenery, two interiors and an exterior. Plays a full evening. UIQ UnUQF IM ORnri? Comedv in Four Acts. Nine males, fllu IlliUJEi 111 liAl^LiIV four females. Costumes, modern; scenery, three interiors. Plays a full evening. TUC UnUUV UnDQ17 Comedy in Three Acts. Ten males, inti nV/DDl niJlViJE. five females. Costumes, modern; scenery easy. Pluys two hours and a half. tnio Drama in Five Acts. Seven males, seven females. Costumes, 11*1^ modern ; scenery, three interiors. Plays a full evening. I ir|Y nmyM't'lpf TI Play in Four Acts. Eight males, seven MjAmJ I DV/Uii iirULi females. Costumes, modern; scen- ery, four interiors, not easy. Plays a full evening. I UfTV Drama in Four Acts and an Epilogue. Ten males, five JLEil 1 1 females. Costumes, modern; scenery complicated. Flays a full evening. mA/IAr'IQTRATF Farce in Three Acts. Twelve males, lU/lUltJ 1 IV/1 1 El four females. Costumes, modern; ery, all interior. Plays two hours and a half. Sent prepaid on receipt of price by Salter H. pafeer & Compai^ K 5 Hamilton Place, Boston, Massachusetts Art Clubs Are Trumps A Play in One Act For Fe?nale Characters By MARY MONCURE PARKER NOTICE TO PROFESSIONALS This play is published for amateurs only. Professional companies are forbidden the use of it in any form or under any title, without the consent of the author, who may be ad- dressed in care of the publishers. BOSTON WALTER H. BAKER & CO. 1918 Art Clubs Are Trumps y . 'b bfi CHARACTERS ^^ cx\^ Mrs. a. R. Tistic. Miss Bright. U Mrs. Welcome. Mrs. Serious. ' Mrs. O. B. Ject Mrs. Wealthy. Miss Palette. Mus. Van Dyke Brown Mrs. Sincere. Bridget. Mrs. Everlate. Art {a symbolical character). The scene of the phiy is laid in Chicago about a year or two prior to tlie World's Fair, but with a shght change of setting and wording, the action may be placed in any city. • Plays about thirty minutes. NO IE This playlet shows the trials that an ambitious woman encoun- tered who desired to form a club in the earlier days of club life and a so the difficulties engendered when trying to run a club in one s home, with a somewhat obstreperous maid. The plot is laid about twenty -seven years ago. before telephones and automobiles were in general use. and when a maid was in a somewhat more informal touch with the mistress than we find at the present day The plot is laid in Chicago merely to have some setting, but with only a word or two of change, here and there it may be laid in any city. This play is especially adapted to the use of women and of clubs, as the comedy element necessary to Jigliten It is followed by a transition to the serious figure of Art giving a touch of the dramatic, and showing earnestness of pur- pose. It may be easily given by amateurs. The lines should be spoken distmctly (even the asides), and with force, and the plav sliould go with snap and vim. • ' The costumes are quaint and cause a laugh, as old fashions do and if directions are followed, the entrance of Art, with the ac companying music, which gives atmosphere, brings a husband thrill, which holds to the end. Copyright, 1918, hy Walter H. Baker & Co. Art Clubs Are Trumps SCENE. — The home of Mrs. Welcome, an earnest woman zvith artistic tastes, zvho desires to form a club in the earlier days of club life. The time is about the year iSgi. The costumes shoidd conform to that period. The room decorations may also be of that time, but if not practical,, the play may be given merely with tables and chairs on a platform, zvithout stage settings. A table is in the center of the stage zvith one chair back of it and four chairs on either side. A strong footstool must be at the side of the chair, back of the table, to be used as a step for the figure of Art. // is^ necessary for the action of the play and that the audience may see the players to have a semicircle arrangement of chairs. Doors r. and L. A sofa zvith pillozvs may be used in place of three chairs if stage is decorated. Enter Bridget as the curtain rises, zvith a feather duster in her hand. She zvears cap and zvhite apron, zvith a gingham apron over the zvhite one, and she is sing- ing the popidar air of the day. She goes about dust- ing chairs, table, etc. Gives a final survey. Bridget. Sure this room looks like a prayer-meeting or a minstrel show, the way thim chairs is fixed, but Hiven knows what strake she got now. Thot's the way she said to fix thim anyhow. (Starts singing again.) Enter Mrs. Welcome; gives general survey of room. Crosses r. to Bridget. Mrs. Welcome. Oh, Bridget, take off that gingham apron. 4 ART CLUBS ARE TRUMPS Bridget (groncJiily). Sure, mum, it's no joke tryin' to play cook and second girl at the same time, mum. Mrs. Welcome (soothingly). Yes, I know, Bridget, but it does not happen very often. Indeed, I have never belonged to a club before and I am so anxious to have ever}'ining all right. Bridget {taking off apron). Sure, I feel loike a fool in this cap. Mrs. Welcome. It is very becoming, Bridget, and quite the thing nowadays. I am sure you want to be in style. Bridget. The shtyle be hanged, mum ! I am only do- ing it to plase you, but I wouldn't go out on the strate in thim nurse's trimmin's, not aven for Quain Victoria, mum. Iv'ry one can tell what ye aire the minit they seez you. (Bell rings outside.) Mrs. Welcome. There's the bell, Bridget. (Straightens Bridget's cap.) Ask the ladies to go up-stairs. [Exit Bridget. (Mrs. Welcome moves about nervously; enter Bridget.) Bridget. Plase, mum, they w^on't go up-stairs. (She starts to leave bitt backs dozvn stage as the ladles enter, making her exit after surveying them slyly.) Enter Mrs. A. R. Tistic, Mrs. O. B. Ject, Miss Palette and Mrs. Sincere, door r. Mrs. a. R. Tistic (gushingly). .Oh, how do you do! It is so mild to-day we haven't- wraps, so we came right in. Mrs. Welcome. I am so pleased to see you all. (Shakes hands with Mrs. A. R. Tistic and Mrs. O. B. Ject, zvho cross l., then with Mrs. Sincere, zvho crosses r., then with Miss Palette.) Miss Palette. I am curious to know just what it is all about* Mrs. Welcome. Oh, you will soon — make yourselves at home. ART CLUBS ARE TRUMPS 5 (Miss Palette crosses l.) Mrs. Sincere (looking as if out of a zvindozv). Here is Mrs. Weahhy's carnage ! Mrs. Welcome. Yes, Mrs. Wealthy is so interested in my idea and promises to lend her full support. Mrs. Sincere. How splendid! (Mrs. Welcome goes toward the door at r.) Enter Bridget, excitedly. Bridget. Sure, mum, nobody will go up-stairs, and it was no use fussin' up the front room at all, at all. Mrs. Welcome. Nevermind, Bridget. (Exit Bridget.) Do pardon my maid, ladies ; she is really very good and I have a horror of changing. (Apologetically. Enter Mrs. Wealthy and Mrs. Serious.) How do you do, Mrs. Wealthy (shaking hands), and you, Mrs. Serious? (Greeting her.) How lovely that you came together! (Mrs. Wealthy crosses l. and greets Mrs. A. R. TiSTic, Mrs. O. B. Ject and Miss Palette.) Mrs. Serious. Yes, Mrs. Wealthy called for me in her brougham. Mrs. Welcome. Mrs. Wealthy is always so kind. Mrs. Serious. Yes, some people drive right by and never think of asking any one else to share a carriage with them. Mrs. Welcome. You know the ladies, I think, Mrs. Serious. (Mrs. Serious crosses to Mrs. Sincere, r., and shakes hands. Mrs. Wealthy crosses r. and greets Mrs. Sincere.) Enter Bridget, r. Bridget (excitedly). A lady just came in and wint up-stairs, mum. She said she'd bin shopping and_ her nose was shiny and naded powder. I am glad we didn't clane the front room fer nothin', mum. Mrs. Welcome. All right, all right, Bridget. O ART CLUBS ARE TRUMPS (Exit Bridget, r., Mrs. Welcome following toward the door.) ]\Iks. a. R. Tistic (aside). Isn't that maid dreadful? Enter Miss Bright, r. Miss Bright. Am I late? How do you do, Mrs. Welcome? (They come down stage, c.) Good-after- noon, everybody. Isn't this a lovely day? Mrs. Welcome. We are so glad to see you, Miss Bright. You know every one, I think. (Miss Bright greets Mrs. Serious, Mrs. Sincere and Mrs. Wealthy and crosses stage and greets the ladies on l. ; a little audible miirmiir of conversation is heard, which must cease at Mrs. Wixcome's next speech.) Shall we be- gin? Let me see (Looks about her.) Are we all here? No, there is Mrs. Everlate. Mrs. O. B. Ject. Oh, I object to waiting for her; she's always late. (The ladies sit dozvn in their respective places, Mrs. Welcome in a chair l. of table.) Mrs. Wealthy. No, don't wait for her. Mrs. a. R. Tistic. Please do not. We will be for- tunate if she comes at three. Miss Bright (rising). Oh, she'd be late if she had an audience with the Pope, or were to be presented at Queen Victoria's Court. (Makes a little bozv as if at a Court presentation. The rest laugh. Sits dozvn.) Mrs. Wealthy (rising). And that would mean that she would miss either one entirely. (Makes another bozv and sits down.) Miss Palette (rising and looking across the room as though out of a zvindow). Well, here she comes. I know the excuse. It will be the cable cars. (All laugh.) Mrs. SiNci.RE. Let us be charitable. The cable does break very often. ART CLUBS ARE TRUMPS 7 Mrs. Wealthy. Oh, I would hale to have to depend upon a street car. Miss Bright. My dear, you know we all haven't a lovely brougham at our disposal as you have. Mrs. Wealthy {rising) . Mr. Wealthy says that there is a Frenchman who invented a gasoline motor about six or seven years ago, and that a Mr. Panhard has built a wonderful car that will run by steam or something over in France. Mv. Wealthy is quite excited over it and of course we intend to have one. (Crosses c. to table and stands.) Miss Palette. Oh, my dear, a carriage that will run without horses, like a horrid steam engine ! Why, our lives would not be safe a minute with those things running up and down the boulevards ! Mrs. Wealthy. Well, I think I might be afraid and then, too, I love my horses. (Sits dozvn in chair, near table.) Mrs. Si:rious. I read somewhere that there were a few of these horseless carriages on the Paris boulevards, and oh, such crowds gather about them. They must be wonderful just the same. Mrs. Wi.LCOME. I think they would be ridiculous and so smelly. Nothing will ever supplant the noble horse. Miss Bright. No, indeed; one might as well expect people to fly about in air-ships. Mrs. Sincere {rising). Heaven forbid! We cer- tainly would be in the last days of the Vv-orld if such things happened. {Makes a gesture of horror and sits dozvn.) Mrs. Wealthy {rising). If they're not used over here by 1896, I shall see them, because we are going to the Queen's Diamond Jubilee and will run over to Paris then. {Crosses back to her chair at r.) Mrs. Serious {enviously, touching Mrs. Wealth y's arm). Oh, you fortunate creature, to be able to travel! Enter Mrs. Fverlate. Mrs. Fvi:rlate.. Oh, my dear Mrs. Welcome, I am so 8 ' ART CLUBS ARE TRUMPS sorry to be late, but the cMq broke. (All laugh loudly. ]\1rs. Welcome rises to greet her at c.) Why, what is the matter? Mrs. Welcome. Nothing", my dear. Do let me take your wraps. (]\lus. EvERLATE greets the ladies in chairs, r. of stage, bo7vs to those at l., and is seated in chair at r., near table.) Mrs. Serious. Pray, let us begin, Mrs. Welcome. You preside. Mrs. Welcoime. I suppose I ought to be nominated or something in order to do things according to parlia- mentary law, although I do not know a thing about it. Mrs. O. B. Ject (rising). What is all this about, any- how? I object to taking up so much time with prelimi- naries. (Sits dozvn.) Mrs. a. R. Tistic (rising and crossing c. to Mrs. Welcome). Oh, Mrs. Welcome, you are the hostess; you preside to-day. Mrs. Welcome. Some one must nominate me. (Slcps to chair back of table and Mrs. A. R. Tistic re- turns to her scot at l.) Mrs. Everlate (rising). I nominate Mrs. Welcome. (Sits down.) Mrs. Sincere (rising). I second the nomination. Is that right? (Sits down.) Mrs. Welcome. Yes; all in favor, say **Aye." (All say "Aye.") Everybody said aye, so I suppose that elects me. (Applause.) Now, we must have a secretary. (Mrs. Welcome goes to chair back of table.) Mrs. O. B. Ject (rising). I object to taking up so much time. Why are we here? (Remains standing.) Miss Palette. Why, my dear, we must do things in the regular way. Mrs. O.B. Ject (turning to her). Well, I left a ART CLUBS ARE TRUMPS 9 plumber at the house and a carpenter and goodness knows what will happen, or what my bill will be. (Sits dozvn.) Mrs. Wealthy (rising). I nominate Miss Bright for secretary. (Sits dozvn.) Mrs. a. R. Tistic {rising). I second the nomination. {Sits dozvn.) Mrs. Welcome. All in favor, say " Aye." {All say "Aye") Nobody says no, so Miss Bright is elected. {Applause.) Miss Bright {looking very pleased, rises and crosses to chair l. of table). I suppose, Mrs. Welcome, I ought to take " seconds " or " minutes " or something. Mrs. Welcome. Yes, '' minutes," I think that's right. {Hands her a piece of paper and pencil.) Mrs. O. B. Ject {rising; eniphatically). I object to taking up so much time. Why are we here? Do let's get to business. Mrs. Welcome {rising). Ladies, we have decided that we need a club in this part of town. The down- town ckibs are too far away and we want to study Art. Mrs. O. B. Ject {rising). I object to making this an Art Club. {Sits dozvn.) Mrs. A. R. Tistic {rising and zvalking tozvard c). Certainly v/e want an Art Club. The World's Fair is to be held here, here in our own America, — the great World's Fair, think of it, and we want to know some- thing about the art treasures of the world. {Sits dozvn.) Mrs. Everlate {rising). I think a Euchre Club would be nice. All {in chorus). No! No! (Mrs. Everlate sits dozvn.) Mrs. Sincere {rising). Mercy no! We must not waste our time. How about a Philanthropy Ckib? {Sits dozvn.) Mrs. O. B. Ject {rising excitedly). I object to a 10 ART CLUBS ARE TRUMPS Pliilanlliropy Club. I hear enough about philanthropy at church. We are always giving to some poor fund or other. (All laJk in very loud, emphal'ic manner to one another.) Mrs. Welcome {rising and rapping zvith gavel several iiines). But, ladies, listen, please. {Raps, and talking eeases.) We have talked this all over before and said it was our desire to study Art. That Vvas the idea of some of us who desired a club — the thought of forming a club at all was for the study of Art. Mrs. Serious {rising). I think we need a Civic Club more than an Art Club. Just look at our filthy streets and the ramshackle buildings. Mrs Wealthy {rising). There's that splendid new Masonic Temple, twenty stories high. (Mrs. Si:rious and Mrs. Wealthy both sit dozvn. In case the plot takes place in another city, some other building can be named.) ]\Irs. O, B. Ject {rising). Well, I object to a Civic Club. The first thing we know they will be calling us Woman's Rights Women who want to vote. (Sits down.) Mrs. Wi:altjiy {rising hastily). Oh, heavens, I hope not. My husband would leave me if I had any of those strong-minded id^as. Mr. Wealthy says, " Anything but a woman politician." {Sits down.) Mrs. Sincere {rising). Goodness, mine would not. Politics are bad enough with the mayor we have. We could give him a little advice, with profit. {Sits down.) {All talk again in. loud tones.) ]\1rs.» Wixco^iE {rising, raps several times zvith the gavel). Ladies! Ladies! This is all superfluous. (Talking ceases.) This is superfluous, as I said, and unnecessary. I do not wish to join anything but an Art Club. To me the very idea of a woman's voting is ex- ceedingly vulgar. Mrs. A. R. Tlstic (rising and taking a step or two to- ART CLUBS ARE TRUMPS II ivard c. of sUiije in an affected manner). Yes, I am sure we should all dress like frights in that stage. {Sweeps back to her chair.) Mrs. Welcome {slill standing). There are plenty of churches and public charitable organizations to take care of the poor. We need to foster the st\idy of Art in our section of the city. • Mrs. O. B. Ject (rising). I object to saying this sec- tion of the city, as though we were all ignorant and crude here. (Sits down.) Mrs. Welcome {standing). I did not mean it that way. We want to foster the study of Art and be more artistic in this part of the city than in any other. I have asked Mrs. Van Dyke Brown of New York City to talk to us this afternoon and I expect her any moment. Mrs. O. B. Ject {jumping to her feet).* Now there, I object to having a New York woman talk to us. They think that we are almost savages here in the West and they show they think so, too. {Sits down.) Mrs. Sincere {rising). We^ haven't a name for our club. (Sits down.) Mess Pjuigiit (rising). Let us call it ''The Woman's Art Study Club." (Sits down.) Miss Palette (rising). Mercy no, that's so palpable. (Sits dozvn.) Mrs. Everlate (rising). How about the x\lpha Club? This is a beginning. Mrs. a. R. Tistic (rising). My dear — maybe we ought to call it The Omega Club, because we may end in a short while. (Sits down. All laugh.) Miss Palette (rising). How about the Palette and Chisel Club? (Sits dozvn.) Mrs. Wealthy (rising). To show that w'e are al- ways ahead — how about the Trump Club? (Remains standing a moment.) Miss Bright (rising). Good gracious, then some cynic is liable to want to criticize us some time and miizht call us the Frump Club. (Sits dozvn. All laugh.) ■t)' 12 ART CLUBS ARE TRUMPS Mrs. Wklcoimi: (rising). Oh, dear, I did not know it was so hard to get a name ! {Remains standing.) Mrs. Sincere (rising). Well, I propose the Thursday Art Club. (Stands.) Mrs. Serious (rising). But this is not Thursday. (Sits.) Mrs. Sincere (stitl standing). We can meet Thurs- day if we wish. Mrs. Welcome (hastily). No, no — that is maid's day out. (All exchange glances surreptitiously.) Mrs. Sincere (still standing). Well, just the Art Club then. (Sits.) Mrs. a. R. Tistic (rising). I second the motion. (Sits.) Mrs. Welcome. All in favor, say " Aye." (All say ''Aye," except Mrs. O. B. Ject, who says '' N^o." The rest look annoyed and finally she says ''Aye.") You all said ** Aye " — no one says " No." It is to be called The Art Club. Enter Bridget, l. of stage; her cap is on one side and she Wears the gingham apron. Bell heard ringing. Bridget (coming to table). Shure, mum, you said after I let the ladies in I might go to makin' sandwidges an' now the bell's ringin' an' I'll have to answer an' the" refrishments won't be ready. Mrs. Welcome (rising hastily). Yes, yes — all right, Bridget. I will go to the door. (Exit"^ Bridget, l.) Pardon me a moment, ladies. [Exit, R. Miss Bright. Isn't that maid a fright? We cannot meet from house to house if such things happen. Mrs. a. R. Tistic. Certainly not. That would crush all the artistic element in my nature. Mrs. Wealthy (rising and walking to c. of room). It is no trouble to train maids and to insist on proper behavior on their part. (Remains standing and then moves tozvard Miss Palette when she begins to speak.) ART CLUBS ARE TRUMPS I3 Miss Falette (rising). Oh, my dear, you know every one cannot afford a whole retinue of servants like yours. (She takes Mrs. Wealtiiy's arm and they go to l. of stage, Mrs. Wealthy sitting on extreme l. in place occupied formerly by Miss Bright before she took her place as secretary at the table.) Mrs. Everlate (rising). No, my dear — we pay such wages, too. Why, I give my maid three doHars and a half a week — isn't that terrible? They are so wasteful and extravagant, too. (Remains standing a moment.) Mrs. O. B. Ject. Does that include washing and iron- ing? Mrs. Everlate. Certainly. (In loud tones.) (Sits. The ladies all talk.) Enter Mrs. Welcome with Mrs. Van Dyke Brown, who wears a long train, a hat zvith many ostrich plumes and carries a lorgnette. Mrs. Welcome (rapping the gavel to restore quiet). Ladies, this is Mrs. Van Dyke Brown of New York, whom I am so pleased to present to you. We are very fortunate indeed in having her with us and she will give us a general talk on Art this afternoon. (The ladies applaud.) (Mrs. Van Dyke Brown bows, looking about through her lorgnette. Mrs. Welcome sits dozvn in her place hack of the table. Mrs. Brown stands c. in front of the table all during her talk.) Mrs, Van Dyke Brown (standing). Ladies, I am very glad to greet you and to know that you have de- cided to study Art here in the West. Mrs. O. B. Ject (rising). I object to calling this the West. California and Kansas are West. (Stands a moment.) Mrs. Van Dyke Brown (standing, looking at her 14 ART CLUBS ARE TRUMPS Ihrouqh the lorgnette). Ob, my dear friends {turns to the rest of the audience), the West is splendid, so full of wide spaces ! (She stands c. in front of the table during her whole speech before the club. Miss Bright touches Mrs. ]]rown's arm to ask a question in pantomime.) Mrs. Si:rioi;s (aside). 1 knew she would patronize us. These art teachers and critics always do. Mrs. Van Dyke Brown (resuming her talk). Ladies, we must live on a higher plane — above the sordid cares of every day. Enter Bridget, l. ; goes to table. Bridget. Plase, mum, I'll have to run over to the grocery. The bye niver brought no sugar for the tay, nor ham for the sandwidges. Mrs. Welcome (rising; nervously). Yes, yes, you may, Bridget. (Bridget looks at Mrs. Van Dyke Brown, zvho surveys her through the lorgnette. Mrs. O. B. Ject pidls Bridget's gozvn and motions her to go out. Exit Bridget, l., shrugging shoulders. Mrs. Wel- come" com^.9 from back of table. To Mrs. Brown.) Do pardon my maid- she is really a very good maid, but a little trying at times. (Starts azvay, tJien turns.) Par- don me, ladies. [Exit, l. Mrs. Wealthy (rising). Why doesn't she telephone? (Sits.) Miss Bright. My dear Mrs. Wealthy, not one of us can afford one of those new 'phones but yourself. The time may come when everybody can have one. Won't it be a dream of luxury? Mrs. Van Dyke Brown (standing, looking about her coldly). Shall I continue, ladies? (Looks about again and continues.) America is a land of promise — a land of the future. Mrs. Sincere (rising and interrupting enthusiastic- ally). Oh, won't it be splendid when we can all have telephones ? ART CLUBS ARE TRUMPS I5 (All begin io talk; AIks. Wealthy rises and f/oes hack io her original place, riglil stage, and is seated, talk- ing io Mrs. Sincere, zuhile Mrs. Van Dyke Brown looks about her in amazement and disgust.) Enter Mrs. Wi:lcome; shozvs surprise and nervousness; raps with the gavel. Mrs. Welco^ie. Ladies! Ladies! (To Mrs. Brown.) Do pardon the interruplion— pray continue, Mrs. Brown. My maid is really very good and I cannot afford to offend her. Pardon me, ladies — pray continue, Mrs. Brown, (Goes to seat back of table.) Mrs. Van Dyke Brown (icily). I supposed this was an Art Club and not an Employment Bureau. Shall I continue or do you prefer to discuss domestic affairs? (Stands tapping her foot and looking disdainftd,) Mrs. EvERLATE (aside). Isn't she snippy? Mrs. Serious (aside). No, she's right. This is an Art Club. Mrs. Van Dyke Brown (standing). I will give you a resume of my plans, ladies. First, we will talk of the fundamental princi])les of Art and of its relations to society at large and to individuals in particular. Then we will take up the art of each country in rotation — of Greece, Italy, England, France and last of all of America. Mrs. O. B. Ject (rising). 1 object to putting America last. (Sits down.) Mrs. Van Dyke Brown (standing). America is a new country and must of necessity be placed last. We will lead up to our own art and encourage our own artists, Mrs. Welcome (risfng and coming front back of table). Oh, that has always been my dream, to encourage our own artists, and maybe we may even go so far a little later in the progress of our club as to be able to buy a picture now and then. Mrs. O. B. Ject (rising). I object. Where would we put a picture? Hang it in the Park? (Sits dozen.) l6 ART CLUBS ARE TRUMPS (Mrs. Welcomk goes back io her seat) Miss Bright (rising). I would like to study music^ too. (Sits dozvn.) Miss Paletti-:. But, my dear, this is an Art Club. Mrs. Serious (rwrnr/). Well, music is an art. I would like to study music myself. (Sits down.) Mrs. O. B. Ji:ct (rising), I object to mixing up studies like that — it is so messy. Let's study Art or not study Art. (Remains standing.) Mrs. Van Dyke Brown (looking ai Mrs. O. B. Ject Ihrough her lorgnette, sarcastically). Art includes many things and has many branches. (Mrs. O. B. Ject shrugs her shoulders and returns to her seat, and Mrs. Brown continues.) I was going to suggest, when interrupted in my train of thought, that you lighten your art days, that is your regular art days, with occasional musicales. You can have music and dancing. Mrs. Wealthy (rising). But where are the men? (Sits dozvn.) Mrs. Everlate (rising). The men cannot come. We meet in the afternoon. (Sits down.) Mrs. Van Dyke Brown (standing). Ladies, one moment. I do not mean vulgar, round dances, partici- pated in by men and women; I mean Grecian dancing that will interpret and visualize old forms of Art. I am training a group of young women to dance in flowing draperies and in their bare feet. (All gasp.) Miss Bright (half rising and speaking in a shocked voice). Their bare feet! Mrs. Serious (rising). Why, that is shocking! (Sits dozvn.) Mrs. O. B. Ject (rising). I object to any such ex- hibition ! (Crosses the stage, r., and speaks, in pantomime, to Mrs. Serious and Mrs. Wealthy, as though very much shocked, and then sits dozvn next to Mrs. Serious,) ART CLUBS ARE TRUMPS I7 Mrs. a. R. Tistic (r'lsinij). But that would be a form of Art ! Mrs. Van ]3yke Brown {siandmg; io Mrs. A. R. TiSTic). Thank you; I am glad to know there is one person here who is progressive. (Mrs. A. R. Tistic hows and sits down, and Mrs. Brown continues.) Ladies, we must get away from the commonplace. Nothing is vulgar that is Art ; an undraped statue and a painting in the nude may be most exquisite. Mrs. Sincere {rising). I think some of them are terrible — all out of shape anyhow. Mrs. O. B. Ject (rising). I object to looking at nude pictures and statuary that is not properly clothed. (Sits dozvn.) Mrs. Van Dyke Brown (standing). Ladies, as I said before, we must get away from the commonplace, and lift ourselves spiritually and artistically above the ordinary things of life. Let us endow everything with a gossamer rose-colored veil. Mrs. Serious (rising). Some statues need more than a veil. They need a good warm suit of woolen under- wear. (Sits down.) Mrs. Van Dyke Brown (^standing)'. Kindly do not interrupt. The man who paints the tree, the sky, the human creature does not paint the real. Lie portrays the ideal, the soul, and thus uplifts one beyond the earth to the realm of spirit. Miss Bright (rising). Dear me, I am all at sea; I don't know what we are going to study. Mrs. Welcome (rising, and coming from back of table to c). Dear friends, do not be discouraged so easily. This has been my hope, my dream, to form a club of women who will encourage the study of Art. It will not be easy. It means discouragements and trials. Let us stand by each other. (Mrs. Van Dyke Brown 'stops at table a moment to give Miss Bright some notes for the minutes and then sits down l., and Mrs. Welco:me, stand- ing c, continues.) We must be earnest and patient and believe in ourselves, and in the potent pov/er of Art, to better us a~s women, and ena])le us to help our city and 1 8 ART CLUBS ARE TRUMPS our communily. {lyilh (jreat feeling.) Art! Art! it is such a wonderful thing ! {The C'uriains are parted at door r. stage, and a woman appears. She is elolhed in Grecian draperies, zvilh a hand of silver about her head and carries a crystal hall. This crystal ball may be a mirrored globe, such as florists use, or a medium shed goldfish globe, lined with silver paper.) {Music is played softly at the entrance of Art and continued until her exit, and a heautifid strain from one of the Grand Operas is suggested.) Art {coming forzvard slozvly and standing near table a little to the R.). I am here, {All start in amazement, hut with a movement rather of azve and mystery than of fear. The supernatural and symholical elements must nozv enter into the play. ) Mrs. Welcome {moving to l. a little and speaking with reverence in her tones). Who — are — you? Art {standing). I am Art. You called my name. {Takes c. of stage, a little to r., and Mrs. Welcome steps hack a little to l.) Where two or three are gathered together in my name, there I come. You would know me. Then the way to my abode is long and steep, yet are there wondrous treasures by the wayside that will be yours for the asking — glowing gems, fragrant flowers, tinkling fountains, blessed shade and radiant sunlight, mists like veils of hazy grayish blue rny lady wears, stretcli£s of wood and open ])lain. Are you afraid to climb with me? Think you this little gathering is too small and weak to worship at my shrine? Come, behold. {She places the crystal globe upon the table, steps upon the footstool and then upon the chair, hack of the table, standing on the chair, zvhirh Mrs. Welcome formerly occupied hack of table, c. .Ill rise slozvly, as if zvith azve, gazing at her. Art continues.) Gaze into the crystal. What see you? You shall see the past and the future, the beginning and fulfillment of your desires. {At these ART CLUBS ARE TRUMPS I9 words of Art, Miss Bright and Mrs. Serious come slozvly forward and kneel at either corner of the table, front of stage. The other ladies stand as they were seated — Mrs. Welcome dropping hack between Miss Palette and Mrs. A. R. Tistic ; Mrs. Van Dyke Brown standing l. of table at one side of Art; Mrs. Everlate at R. of table the other side of Art — the whole forming a tableau, with Art standing upon the chair during her speech, and this tableau must be sustained with a pretty regidar grouping in this order, until the close of Art's speech. Music continues; plays softly.) Behold the sweep of the desert sands. (She points at the crystal.) 'Tis ancient Egypt, land of the mighty pyramids and mystic sphinx. Come to this ruined temple of the Gods of old. See the lotus-flowered columns, hands long since stilled, perpetuated with tender, patient skill, the luscious flowers of a beloved land. The scene changes, fair classic Greece arises beside the Mediterranean waters blue. The simple majestic glory of the Parthenon be- longs to you. The beauteous forms made lasting in marble by sculptors who followed in my footsteps — these are yours to-day. Now are we in Italy^in sunny Italy, where Michael Angelo toiled, where Raphael poured out libations at my shrine, where treasures untold await your study, giving to you a joy you ne'er as yet have known. Now are we in the woods of France, amongst the Bar- bizan painters. EEere is the Louvre with its treasures. Lower your voices ; we stand at the feet of the beautiful, incomparable Venus de Milo. Through the long gal- leries we wander. Now across the Channel to England, where Gainsborough, Romney, Sir John Millais, Alma Tadema bid you welcome to another home of Art — a modern school too calls to later treasures. Then across the ocean, here in your own land, are voices calling to you for courage and recognition in my world. Look again ; there are the brothers of the Pencil, opening their books for your perusal. Behold that great concourse of women. This group is studying literature; that one is sewing for the poor and needy. Strains of music greet the ear. The works of great composers are yours for study and for profit. There is a splendid building erected 20 ART CLUBS ARE TRUMPS in my honor, an Institute of Art. These women walking about in the spacious halls — who are they? That is you and you and you. It is your club formed from this little nucleus into a great power. {She steps dozun upon the foolslool and continues.) In Union there is Strength. {She steps to the floor and takes the crystal ball in her /lauds and continues.) Be patient, work much, love much, hope much. I will be your Guardian Saint. {She starts to back out slowly.) Be not discouraged. Push on and on and on to the goal. {She stands a moment at door, R.) Adieu! Adieu! [Exit Art. {The music ceases; all stand for a moment as if in the spell.) Mrs. Welcome {stepping forzmrd). Oh, I am glow- ing with hope and pride. {Speaks earnestly.) This, our little club, will grow into a great power. Shall we go on? All. Yes, yes. Mrs. Welcome {standing c. facing audience, and the rest group about her). And you will not mind the trials before us, you will stand by me? All {enthusiastically). Yes, yes, we will, we will. Mrs. Welcome. This is our Alpha — our beginning — our own Art Club. Come, let us adjourn to the dining- room and drink in our tea to a success of our club. {All exeunt, talking audibly, but earnestly, as though full of purpose. Mrs. Serious stops as though to encourage Mrs. Welcome and to congratidate her, followed by Mrs. Sincere. They exeunt in groups of two's and three's, l., Mrs. Van Dyke Brown and Mrs. Welcome remain- ing. Mrs. Welcome, to Mrs. Brown.) Oh, I feel so en c(ju raged, we must succeed. Faith and work will move mountains, will they not? Mrs. Van Dyke Brown {putting her arm about Mrs. Welcome). My dear, you will succeed, for your heart is in the "welfare of your club and your community. The others will help you. The inspiration of an earnest soul and the enthusiasm of one person can stir the hearts of many. {Exit, talking earnestly, l. of stage, both Mrs. Brown ART CLUBS ARE TRUMPS 21 and Mrs. Welcome. Just before they exeunt, Art reenters r. zvifhoitt the crystal ball, but they do not see her. She conies forzvard and stands c.) Art {zvith a gesture tozvard the door at l., through zvhich Mrs. Welcome, Mrs. Van Dyke Brown and the rest have passed, speaks). So runs the world away They finite beings, creatures of a day With all their hopes and doubts and fears, With all their longings, smiles and tears, They must pass on — to oblivion's edge? — Ah, nay. Time flies but Art will last alway. No thought uplifting can be lost. Press on toward light — count not the cost. Good deeds repay an hundredfold. I, Art, will live and ne'er grow old. They in the past — that little band Stood firm and lo I wave a magic wand. You here to-day A great club with the power to sway Your own community — yet stand not still, You may greater tasks fulfill. Connecting past with future, I am here. You too push on and never fear. And so our little play is done. We trust we have your plaudits won. I, Art, am proud, dear club of you. And now for a little while Dear friends, my friends, adieu. CURTAIN (// curtain is not procurable this play may end zvith Art slozvly making her exit and leaving' stage R. at the zvords "Adieu/' If the play is given before a mixed gathering and not a Woman's Club, the cur- tain may come at the zvords of Art, '*/, Art, will live and ne'er grozv old.") CLOSE TO NATURE A Farce in Four Acts By Norman Lee Swartoiit Author of " The Arrival of Kitty," " Half-Back Sandy,»» " One of the Eight," etc. Nine maks, four females. Costumes, modern ; scenery, one interios and one exterior. Plays a full evening. Royalty for amateur perform- ance, $10.00 for one or $15.00 for two performances. Levasso Wellman, an unusually healthy individual, is persuaded by his wife, who has private reasons for the change connected with her daughter's engagement to the man of her mother's choice and the elimination of " the wrong man," to go to a remote health resort — Farm Springs. His experiences in this somewhat fraudulent institution are very funny and the defeat of mamma's matrimonial politics turns out all right for the daughter. Well recom- mended. Priae, 50 cents CHARACTERS Lavasso Wellman, a laivyer, Tkt>, his small son. Doctor Boxill, Mrs. Wellmajts brother, Clayton Holmes, a poor yoimg tnan. Hugh Killroy, a rich young man. Alonza K. Dewsnap, editor of a health magazine, Sidney Muirhead, a Canadian fartner, Jim Jarks, a backwoodsman. A Chauffeur. Mrs. Wellman. Barbara, Wellma7i s daughter, Carrie, a maid. Mrs. Muirhead. Mike, Ted's dog. The part of Ted, who is supposed to be nine years old, may be very effectively played by an older boy of small stature, by a girl or by a child. SYNOPSIS Act I. Mr. Wellman's Library, New York. An evening in June. Act n. Farm Spring Hotel, Canada. Two days later. Act hi. Same as Act H. A few minutes later. Act IV. Same as Act I. Five days later. JACK'S BROTHER'S SISTER A Sketch ill One Act By Pauline Phelps and Marion Short One male, one female. Costumes, modern ; scene, an interior. Plays twenty mniutes. No royalty. Petunia, visiting her brother Jack in his college room, encounters his chum, who has never seen her, and falls inider suspicion of being mixed up in some Junior-Senior politics. Their interview, complicated with a red skirt and a riding habit, is most in- geniously and amusingly conducted. Very bright and strongly recora- snended. Price f ij ceftts playing on the Carlton Springs sumimr base- ball team. CAUGHT OUT A Farce in Three Acts By H, Mauley Dana Nine male, two female characters. Costumes, modern ; scenery, one interior. Plays an hour and a half. De Witt Boyd is jollied into making a foolish bet that he will propose to Bess Mason and be rejected. She overhears the plot and accepts him instead, thus getting both herself and him into all kinds of a mess. A baseball play, full of action and interest, recommended to high schools. Easy and effective ; free from royalty. Price, 75 ceuts CHARACTERS Bill Randolph Dick Rogers Jack Davis George Brown Kenneth Marsh Charlie King De Witt Boyd, rrianager of the team. Harry Wilkes, formerly an Amherst pitcher; now wanted to pitch on the Carlton team. Mr. Weaver, afflicted with sunstroke. Has come to Carlton Springs to take the cure. Bess Mason ) both staying at the Carlton Christabel Lee J Springs Hotel. Hotel Waiters. Remainder of team and substitutes, A TAKING WAY A Farce in One Act £y Innis G. Osborn Four male, two female characters. Costumes, modern ; scenery, one interior. Play-s forty-five minutes. Jacobus Harwinton, a newly-wed with a very jealous better half, gets by mistake into John Halsey's flat, taking it for that of a friend that has been loaned him for his honeymoon, and in- herits all of John's troubles, including Jennie, a very up-to-date typewriter, to say nothing of a casual burglar. Very swift and funny and strongly recommended. Price, /j" cents LOCAL AND LONG DISTANCE A Farce in One Act By H. Manley Dana One male, six female characters. Costumes, modern ; scenery, one in- terior. Plays half an hour. George Davis, home from Yale with a broken leg, is left in charge of the house for an hour of a rainy day, and thus anchored trouble revolves around him like a wheel, largely turned by the charming Kitty Parsons who takes this chance -to be revenged upon him for a little slight. Irresistibly funny to all telephone users. Strongly recommended. Price^ ij cents B. lU* Pinero's Plays Price, 50 0e ite Cacb Min POAMMn Play in Four Acts. Six males, five females. mlU-LnAllllCiL Costumes, modern; scenery, three interiors. Plays two and a half hours. THE NOTORIOUS MRS. EBBSMITH SS?" luhJ males, five females. Costumes, modern; scenery, all interiors. Plays a full evening. TOr DDACIIPATr Play in Four Acts. Seven males, five 1 llEi r KUr LlU A 1 Ej females. Scenery, three interiors, rather elaborate ; costumes, modern. Plays a full evening. TOr Or'LinrM MICTDFCC Farce in Three Acts. Nine males, lllEi 5CnUULlVlliJlI\CiiJO seven females. Costumes, mod- ern ; scenery, three interiors. Plays a full evening. THE SECOND MRS. TANQUERAY l!g"J.'°J^^S,*flve females. Costumes, modern; scenery, three interiors. Plays a full evening. CWrrrT T A\7riUnrD Comedyln Three Acts. Seven males, OWLtil LAVLlNULIV four females. Scene, a single interior, costumes, modern. Plavs a full evening. THE THUNDERBOLT Srai^s^°lci,'e?y.tSaS» ors; costumes, modern. Plays a full evening. TUr TllWrC Comedy in Four Acts. Six males, seven females. 1 nCi 1 11V1E.J Scene, a single interior ; costumes, modern. Plays a full evening. TUr lirrAVTD CrY Comedy in Three Acts. Eight males, Infc WtiAIVLlV OLA eight females. Costumes, modern; scenery, two interiors. Plays a full evening. A WIFE WITHOUT A SMILE 5?;rmlil^ou^Temi!e's: Costumes, modern ; scene, a single interior. Plays a full evening, ■ — I — ^^— — — — Sent prepaid on receipt of price by l^alter ^. pafeer & Companp NOo 5 Hamilton Place, Boston, Massachusetts ■-^rtC of ^i 015 ■gia'ies 4^ AQ Yftll I IITF IT Comedy in Five Acts. Thirteen malea, four m^ IWU MAm 11 females. Costumes, picturesque ; scenery, Ta> ffled. Plays a full evening. CAMIT T F Drama in Five Acts. Nine males, five females. Cos- VAaul^LfC tumes, modern ; scenery, varied. Plays a full evening. INIinilAD P^7 ^^ Fire Acts. Thirteen males, three femalei. inuviniiA Scenery varied ; costumes, Greek. Plays a full evening. MADT CTYIAfiT Tragedy in Five Acts. Thirteen males, four fe- lllill\l JlUABl males, and supernumeraries. Costumes, of the period ; scenery, varied and elaborate. Plays a full evening. THE MERCHANT OF VENICE SStJh^arfr/a?^: IZt^J^. picturesque ; scenery varied. Plays a full evening. BirHPT IFII ^^^y ^° Five Acts. Fifteen males, two females. Bcen- niVllCMitU ery elaborate ; costumes of the period. Plays a full •Tening. THP PIVAI ^ Comedy in Five Acts. Nine males, five females. lIUi niTALrw Scenery varied; costumes of the period. Plays a fall evening. SHE STOOPS TO CONQUER SSiaiM7..t"1c.„^.?V;:i ried ; costumes of the period. Plays a full evening. TWELHH NIGHT; OR, WHAT YOC WILL S'^/.o'^mSi': three females. Costumes, picturesque ; scenery, varied. Plays a full evening. Sent prepaid on receipt of price by ^^Itet !^, TBafeer & Company Vo. 5 Hamilton Place, Boston, Massachusetts • . Jl. PARKHILL. a CO., PRINTERS. BOSTON. U.a.Ao